We are all engaged in a conversation with eternity and believe that it was us humans who asked the first question. An irreplaceable tool of this dialogue is the ability of detail to represent the whole. Salt in your hair will remind you of the ocean, a reflection in a puddle will bring the clouds closer. We taste planet Earth with every dusty mouthful, a single grain of sand covers our view of the entire world. This relation is most pressingly manifested in love. Complete attention devoted to a single person.
An archaeologist deduces the shape of an amphora based on a ceramic shard, a palaeontologist creates an image of a person based on a fragment of their parietal bone, a robber is identified thanks to a single fingerprint. While carefully examining our own faces in the mirror, we find crossroads between the general and the unique. In this way of contemplating the world, graphic expression occupies an exclusive spot. This imprinting principle appearing in psychology as well as in baking, sandpits and Barrandien with its trilobites, manifests itself most in graphics. A single matrix imprint carries a testimony about all previous and future ones, a testimony about mutuality. A seemingly mechanical transfer of colour and shape from one participant of the process to another is the real element of dialogue.
A single human being, a unique individuality, will be complete only with their sign of allegiance to the Homo genus. In our genetic makeup, we carry one empty spot that can be filled only by inclusion in a pack (swarm, flock, village, family, crowd, mass, group, collective, knot, party, team, squad, mafia, gang, population, crew, staff, horde, inhabitants, entourage, camarilla, class, caste, nation, ethnic group, race, troop or congregation).
This relationship potential is the subject of many professions and science disciplines. For our studio is important to use graphics to map the journey of the fundamental construction element – an imprint, drawing or engraving – into schedules and schemes of the social context, i.e. positive interactions of visual and verbal language, following the line between the utterable and expressable.
The aim of the exhibition project CIRCULAR DEFENSE is to use lines, points and surfaces to name the studio's study programme: the imprint of a human being cast into the world as an identification of their experience with its recording.
Professor Mikoláš Axmann